Sunday, March 09, 2014

Seeing Double

We got to the Usher Hall a little too late to see Rock Action's Remember Remember last night; they were one of the support acts for Mogwai, the other being The Pastels, who we did get to see.  Is it possible to review Mogwai without alluding to that NME clich√© "Cathedrals of Sound"? Probably not. So instead, in honour of the first support band, we proudly unveil the ItP rundown of the Top Ten Groups With Two Words Exactly The Same As Their Band Name.

10. Bourgie Bourgie
9. Everything Everything
8. Rema Rema
7. Medium Medium
6. Duran Duran
5. Talk Talk
4. The The
3. Django Django
2. Allez Allez
1. Liquid Liquid

Incidentally, Mr. Mister, you don't make the cut. I hope I don't need to explain why.


Friday, February 28, 2014

Ice Ice Baby

Among the many things that have diverted me in the past few weeks, the Winter Olympics is probably the most unlikely. But it's true, the antics of the GB curling teams, the skiers, the snowboarders and the ice skaters have all managed to rekindle a little of the London 2012 magic, even if you can't quite escape the nagging feeling that careening down an icy half-pipe on a glorified tea tray with little to no control over your descent is more a contest of luck than skill. Hell, I even enjoyed the countless documentaries about Jayne Torvill and Christopher Dean's ice skating triumph in Sarajevo 30 years ago (and incidentally is it acceptable to say Jayne Torvill in 1984- meh; Jayne Torvill in 2014- phwoar? No? Ok then).




All that  exposure to Ravel's Bolero sent me back to one of my favourite albums of the last few years, Deutsche Grammophon Recomposed by Carl Craig and Moritz Von Oswald, one of a series in which various artistes from outside the slightly anal word of classical music are invited to remix and generally mess around with the august Deutsche Grammophon catalogue. The artists invited thus far include Jimi Tenor, Matthew Herbert and Edinburgh's very own Max Richter. Now I've never thought very highly of Carl Craig, even though I own a few of his records, because he was idiotic enough to insist on posing on the cover of The Wire holding a gun, the sort of buffoonish behaviour you might expect from the P Diddys of this world rather than supposedly thoughtful techno DJs. Moritz Von Oswald, on the other hand, I have a lot of time for; I mean, you have to tip your hat to someone who was  an occasional member of the Associates as well as founding the Basic Channel label. Anyway, however the workload was divided, between them they came up with a superb piece of work, remixing the aforementioned Bolero, as well as Mussorgsky's Pictures at an Exhibition. The Bolero rerub is nothing short of spectacular, building over an intro section and four movements, from a series of repeated string and horn motifs to a full-on Detroit floor filler. With parts drafting in and out of phase √† la Steve Reich, it's entirely of a piece with Deutsche Grammophon's ethos and never feels forced. This isn't Hooked On Classics. The original Ravel, incidentally, is played by the Berlin Philharmonic, conducted by Herbert Von Karajan, which no doubt explains the exquisite packaging of the CD , featuring numerous piccies of the two remixers in and around Hans Scharoun's still-gobsmacking Berlin Philharmonic building (above). Anyway, purchase or download are recommended highly. There's a taster below, the Second Movement,which gives you a bit of a feel for how it builds over time. And it may also make you think of Jayne Torvill. Which is nice.




Buy the CD here

Friday, January 31, 2014

After the Gramme

In my Albums of the Year last month, I was remiss in forgetting that Gramme had put out a (terrific) long player in 2013, and I'd like to correct that omission.  Gramme chose to return to recording some 14 years after their initial, well-received punk-funk offering (see posts passim); why they failed to capitalise on their moment at the start of the 21st century, just as Simon Reynolds was finishing writing Rip It Up, and when Output Records was the last word in metropolitan chic, is beyond me (though an even more egregious example of missing the boat also arrived in 2013 when Johnny Hates Jazz issued an album 22 years after the last one).  Whatever their reasons for their 14 year hiatus (and they're being slightly opaque about why they've been away), I'm very happy they're back; the sound-- dirty scuzzy raunch-- is still intact, and they seem to be in it for the long(ish) haul, talking about future tours, new albums etc.

Daddy Cool

It's a long way from the Bronx to the Barras, but Scotland's hip hop scene (and no, that's not a typo) is thriving, and nowhere more so than Auld Reekie.  The excellent Stanley Odd were nominated for the Scottish Album of the Year award last year (and in a country that has consistently punched above its weight musically, that's not as parochial an award as it might seem). And the Young Fathers, who have put out a couple of semi-official mixtapes prior to now, are about to release their first official album through Anticon/Big Dada.  They're on tour from Feb 1st, and this is the first single. It's fantastic.

  

For Whom The Bells Toll

In case you weren't convinced that life is inherently unfair, the news that Benjamin Curtis was a late addition to 2013's RIP list should clinch it.  As pretty much one half of School of Seven Bells, as well as the prime mover of Secret Machines, Curtis was responsible for some of the most striking music of the last five years, and the 2012 album Ghostory was one of the year's best. If they'd had a dollar for every critic that mentioned the Cocteau Twins in their reviews, they'd have been millionaires, but in truth, while any Cocteau Twins influences in anyone's oeuvre are entirely welcomed by this particular critic, they were far more than mere copyists.  The crunching beats that accompanied their ethereal leanings were rarely heard on 4AD (with the exceptions of M/A/R/R/S and Colourbox), and seem to owe more to Def Jam than Dif Juz. However you slice it, though, pegging out at the age of 33, when stadium-filling acclaim seems to be within your grasp, is particularly cruel.


Tuesday, December 31, 2013

End of Year Review 2013

Yes, it's that much-unloved feature once again, a budget version of Charlie Brooker's Screenwipe, only not as good. Or funny.  On with the show...

RIP

Ronald Shannon Jackson, Nelson Mandela, Lou Reed, Al Goldstein, Joan Fontaine, Paul Walker, James Gandolfini, Peter O'Toole, Cory Monteith, Elmore Leonard, Karen Black, Dennis Farina, Ray Manzarek, Trevor Bolder, Ray Harryhausen,  Marcia Wallace, George Jones, Roger Ebert, David Frost, Mel Smith, Alan Whicker, Richard Briers, Michael Winner, Cecil Womack, Reg Presley, Richard Griffiths, Iain Banks, Mick McManus, Bill Pertwee, Jeff Hanneman, Bernie Nolan, George Duke, Jon Brookes,  Seamus Heaney, John Fortune, Donald Byrd, Junior Murvin, Mick Farren, JJ Cale

Most Bastardised Word in the Media

A close-run thing this year. "Selfie" was certainly in the running, not only because it transmuted into "belfie" over the course of 8 months (thanks, Daily Mail), but also because it now seems to mean any hastily-captured portrait of a person taken on a smartphone and then uploaded to a social networking site, and not just a self-portrait.  Note the recent pictures of Nigella Lawson holding a roasted Christmas turkey on a platter up to the camera.  Most tabloids rose to the bait and printed the pic and many of them used the word "selfie", despite the fact that both of Ms. Lawson's Hands were clearly visible in the picture, holding the damn bird.  Unless Lawson has a third hand we haven't heard about (and I think, given her recent court appearances, the Grillo sisters' lawyers would have introduced it
in evidence), I can only assume that the pic was taken by one of the members of #teamcupcake.  In
which case, it's not a selfie, but an old-fashioned photograph. But boring old photos aren't sexy and can't be used as clickbait by newspapers, and so any old photo of a person is henceforward a selfie.  Cheers.








But no, "selfie" isn't the most egregious example of meaning-changing this year.  The accolade goes to "troll", once a very specific term meaning someone who lurks on Internet fora and posts messages to draw the ire of other forum users, and who then sits back and enjoys the results (for example, the poster who might visit a Death Metal forum and mention how much they're enjoying the new Justin Bieber single, to predictable howls of outrage from regular forum users.).  While I'm not going to argue that these trolls were on a par with the emergency services, charity volunteers or school crossing guards, they DID perform a valuable service, namely pricking pomposity and exposing the monocultural mindset of many internet boards.  A troll was NOT someone who simply gratuitously insulted others, or was merely obnoxious.  There are already numerous terms for such people. "Dickheads" is one. Unfortunately, the newspapers have decreed in the last few years that anyone with unpalatable opinions is a "troll".  Thus xenophobe Godfrey Bloom is a troll.  As is the homophobic James Arthur.  As is Katie Hopkins, who was recently declared 2013's troll of the year
by the Guardian (who should know better), for her inflammatory pronouncements.  Katie and the others besmirch the good name of real trolls in two ways; first, the opinions they hold are, as far as I can tell, real and genuine rather than simply voiced for effect (though I suspect Ms. Hopkins is prone to exaggeration with an eye to newspaper sales). Second, Godfrey Bloom and Katie Hopkins (and many others in the Guardian list) choose not to promulgate their bile online, but in rather more traditional media.  All therefore are not trolls (a sobriquet that flatters them, and makes them seem seem slightly less unpleasant and more cartoonish). Rather, they're old-fashioned cunts.

Most annoying auto-correct tic on a tablet

The way that "selfie" keeps auto-correcting to "selfish". 


Biggest stramash over a slightly-above average song

I refrained from mentioning "twerking" above, just as I've refrained from mentioning Robin Thicke's Blurred Lines this year (the acres of press coverage this far have been sufficient without me weighing in).  But what a lot of fuss over what, essentially, is a mash-up of Marvin Gaye's Got To Give It Up, and the theme tune to Only Fools and Horses.  The banning of the song by a number of student unions, too (a mere three months late) was a gross over-reaction. I'm not going to argue that there's no link between culture and morality and behaviour, but if they're going to ban Thicke because there are some slightly off-colour and sexist attitudes in Blurred Lines, they'd better ban a whole slew of other songs too. God forbid, for example, that these drones should ever hear Rolling Stones' Under My Thumb. Or Daft Punk's Get Lucky (which seems to be about keeping a girl up way past her bedtime
till she's too exhausted and drunk to say no).  Or whole chunks of the oeuvre of Led Zeppelin. Or R Kelly.  I could go on.  Have they forgotten what rock 'n' roll is a euphemism for?

Most over-rated artist

Kanye West.  What is the continuing appeal of this blowhard? His recent release has appeared on quite a few best-of lists. I really can't hear it. Mediocre rapping, rudimentary beats, an overweening, out-of-control ego that thinks that fighter jets at a wedding are a good idea... The guy is a cast-iron idiot.

Best compilation

I mentioned The Clash below, and despite strong competition from a couple of Strut compilations
(Trevor Jackson's second stab at Metal Dance, and the Celluloid retrospective), the Clash's box set edges it, because it reminds you of what a great and diverse group they were, and how far they travelled sonically over 5 years, and also because it includes a number of tracks from Mick Jones' first pass at Combat Rock, Rat Patrol from Fort Bragg.  Yet again, Cut The Crap has been airbrushed from history, but as I've said once before about the same group, you can't have everything.












Best single

I've been listening a lot to Justin Timberlake's Take Back The Night, the greatest single Michael Jackson never made, but the best thing I heard this year was Eminem's Berzerk, an insanely catchy slice of old-school hip hop, produced by a returned-to-form Rick Rubin.  Like the best rock 'n' roll, and like the Def Jam singles of 1984 that seemingly inspired it, it makes you want to kick over a dustbin. Much of its energy comes courtesy of that buzz-saw guitar chord (from Billy Squier's The Stroke), but deft sampling and Mathers' wordplay make this the must-hear track of 2013.




Best album

Valiant efforts from Chvrches, James Blake, Vampire Weekend (a bit of a grower, that one), Savages, Jon Hopkins and Steve Mason, but I particularly enjoyed Jessy Lanza's debut. As long-term readers will know, I'm a sucker for females doing things with sequencers, and if you like Ladytron, Roisin Murphy or Marsheaux, there's a good chance you'll like Pull My Hair Back, Ms. Lanza's 2013 release.  On the mighty Hyperdub label, it's got enough going on to satisfy twitchy dub step-addicted short attention-span teens, but is smooth enough not to scare the horses and to ensure occasional mainstream radio play. You can even play it at dinner parties.  Recommended.

Most surprising TV

The trouble with American series, as I've told anyone who'll listen, is that they so rarely know when to bow out. Most writers pitch a story idea, with little sense of how the story is going to end, and as long as people are watching, and advertisers are paying money, they will usually keep churning out episodes. And so most long-running comedies and dramas end in the ignominy of cancellation, a shadow of their former glories, or tie up multiple loose ends in a wholly unsatisfying fashion (Lost, anyone?).  Breaking Bad, one of the few exceptions to this rulewas absolutely excellent, and we devoured the whole series at Irk Towers in just a few weeks. But Homeland, which I initially championed for its nuanced take on terrorism and patriotism, and then like many grew disillusioned with in its second series as it seemed to descend into one-dimensional US boosterism, returned to something close to its original form at the climax of its third series.  I wish they'd gone out on this high, but a fourth series is planned.  Whether they can maintain the standard of the final episodes without one of the series' major characters remains to be seen.

Over and out. See you in 2014.